Rafe Spall Biography
Rafe Spall was born in Camberwell, London, the United Kingdom as Rafe Joseph Spall. He is an English actor, famous for The Big Short (2015), Life of Pi (2012) and The Ritual (2017).
Rafe Spall Age
Rafe Joseph Spall was born on 10 March 1983 in Camberwell, London, England. He is 36 years old as of 2019.
Rafe Spall Family | Rafe Spall Dad
Spall was born at King’s College Hospital in Camberwell, London, to Shane (née Baker) and actor Timothy Spall. He has two siblings.
Rafe Spall Education
He attended Haberdashers’ Aske’s Hatcham College and later joined the National Youth Theatre.
Rafe Spall Wife
Spall is married to actress Elize du Toit since 14 August 2010, The two met In February 2008. The couples have two children and live in West Kensington, London.
Rafe Spall Children
- Daughter, Lena, born 2011,
- Son, Rex, born November 2012.
Rafe Spall Height
Rafe Joseph Spall is an English actor who stands at 1.85 m tall.
Rafe Spall Image
Rafe Spall Career
Spall has collaborated with Edgar Wright, featuring in his films Shaun of the Dead, Hot Fuzz and The World’s End alongside Simon Pegg and Nick Frost. Spall was also featured in Wright’s segment in the 2007 Quentin Tarantino and Robert Rodriguez film Grindhouse.
In 2007, he performed for the first time with his father in the ITV adaptation of A Room with a View playing father and son. In 2012 he starred in One Day.
In 2012, Spall portrayed Canadian author Yann Martel in the Academy Award-winning drama film Life of Pi, directed by Ang Lee and starring Suraj Sharma and Irrfan Khan. The film was a critical and financial success, winning four Academy Awards and making over $600 million at the box office. In 2013, he played the newlywed husband in I Give It a Year, a comedy about the trials and tribulations of a couple during their first year of marriage.
In 2014, Spall featured in the coming-of-age drama X+Y, alongside Asa Butterfield and Sally Hawkins, and the seasonal family comedy Get Santa. In 2015, he played John Hancock in the History Channel three-part series, Sons of Liberty, alongside Jim Broadbent, and appeared in the Academy Award-winning biographical comedy-drama The Big Short, alongside Christian Bale, Brad Pitt, Ryan Gosling, and Steve Carell. Also that year, Spall played Harry Price in Harry Price: Ghost Hunter, ITV’s adaptation of Neil Spring’s debut novel, The Ghost Hunters. The film aired on ITV1 on 27 December.
Spall portrayed Eli Mills in Jurassic World: Fallen Kingdom (2018), the fifth installment of Steven Spielberg’s Jurassic Park series, and directed by The Impossible helmer J. A. Bayona.
Rafe Spall Net Worth
Rafe Spall an English actor has an estimated net worth of $3 million dollars.
Rafe Spall Shaun Of The Dead
Rafe Spall featured in the Shaun of the Dead, a 2004 horror comedy film portraying Noel.
Rafe Spall Black Mirror
Black Mirror is a British science fiction anthology television series, where Rafe Joseph Spall featured in as Joe Potter.
Rafe Spall Hot Fuzz
Rafe Spall featured in Hot Fuzz, a 2007 buddy cop action comedy film portraying Detective Constable Andy Cartwright.
Rafe Spall Jurassic World
Jurassic World, is a 2018 American science fiction adventure film, Rafe Spall, starring as Eli Mills, portraying Lockwood’s ambitious assistant who recruits Owen and Claire to rescue the dinosaurs.
Rafe Spall One Day
One Day is a 2011 British-American romantic drama film, where Spall starred in as Ian, portraying Emma’s comedian boyfriend.
Rafe Spall Life Of Pi
Life of Pi is a 2012 survival drama film where Rafe Spall starred in as the Writer. The film revolves around an Indian man named “Pi” Patel, telling a novelist about his life story, and how at 16 he survives a shipwreck and is adrift in the Pacific Ocean on a lifeboat with a Bengal tiger.
Rafe Spall The Ritual
Rafe Spall starred in The Ritual, a 2017 British supernatural horror film appearing as Luke.
Rafe Spall Movies
Men in Black: International
Jurassic World: Fallen Kingdom
Swallows and Amazons
Jim Turner / Captain Flint
The Big Short
I Give It a Year
The World’s End
The F Word
Life of Pi
Behind the Door
The Scouting Book For Boys
Modern Life Is Rubbish
D.C. Andy Cartwright
A Good Year
The Last Drop
Pvt. David Wellings
Shaun of the Dead
The Calcium Kid
Rafe Spall Video
Rafe Spall Interview
Published: October 22, 2018
EDDIE REDMAYNE: So you’re doing this play now about relationships and affairs, with one of the greatest living directors, Mike Nichols, and two of our greatest living theater and film actors, Daniel Craig and Rachel Weisz—and you’re doing it on Broadway. You’re not exactly tiptoeing your way into New York, are you?
RAFE SPALL: No. I mean, it’s an extraordinary situation to find yourself in. One minute, you’re watching daytime TV and playing with your kids, and the next, you’re there with Mike Nichols and Rachel Weisz and Daniel Craig in a rehearsal room … And then you go home and you’ve to go to change shitty nappies, which is a very grounding thing.
REDMAYNE: The play is about an affair but it also screws around with time. The scenes don’t happen in the same chronological time as the action.
SPALL: It plays backward. It’s a really clever device. Essentially, time goes backward, so the play starts two years after the end of the affair and then charts back to the beginning. So you get to 1975 and then it plays forward, and then, later on, it goes to 1971, and it plays forward, and so forth. So it goes incrementally backward and forward.
REDMAYNE: For your sanity as a trio of actors, did you rehearse it all in the chronological order of the affair?
SPALL: No. We rehearsed it as it was written. We did read it, though, as an exercise, in its “proper” order chronologically, as it were, and it’s amazing what gets lost in terms of the tension and the pathos. Pinter wrote a lot about memory in his plays—about how we remember things differently and how our lives are made up of those memories, however, skewed or real they might be.
REDMAYNE: In many ways, that’s what Betrayal seems to be about. It deals with the emotion of affairs through memory and, in a way, the logistics involved. It sort of deglamorizes it a bit.
REDMAYNE: You’ve never done a play in New York before, have you?
REDMAYNE: What’s your sense of Broadway so far? How do you reckon it compares to what we’re used to in London?
SPALL: Well, the rehearsal process on this was different, but that changes with every play that you do. Every director has a different process. Then, obviously, I’ve never worked with Mike Nichols, which is a lot of fun. There has been a lot of laughing involved. I was actually speaking to an American actor who knows Mike, and I said to him, “Mike is so funny.” And this actor said, “Mike is not funny. Mike invented funny. We’re funny because of Mike.” [Redmayne laughs] Which is sort of true, because Mike pioneered a kind of live improvisational comedy with Elaine May. They were in the Compass Players, the predecessor of Second City, which ended up giving birth to things like SNL. So his quickness is extraordinary. Also, Daniel and Rachel both have really great senses of humor. The thing about Pinter’s work, too, is that it should be funny—although I’m hesitant to talk about how one should approach Pinter before I’ve done it and seen the reviews. [laughs]
REDMAYNE: Who chose the play?
SPALL: I think Mike chose it. He and the producer, Scott Rudin, had done Death of a Salesman together, and this is what he decided to do next. Mike knew Pinter. They were friends. So Mike chose Betrayal. It’s funny because I’ve read every word of Pinter. I don’t know why, but I’ve always been drawn to him. My dad took me to see The Caretaker with Michael Gambon when I was about 17, and it blew my mind. It’s a naff, cheesy thing to say, but I’ve always had a connection with his work that I haven’t had with Shakespeare or Ibsen or really any of the other preeminent stage writers. I’ve just got this thing for Pinter. I’ve literally read everything he’s done. There’s a brilliant book of his called Various Voices: Prose, Poetry, and Politics. I just never thought Betrayal would be the first Pinter play that I would do because it’s about the bourgeois middle classes. I mean, it’s sort of impossible to be the son of an actor and be anything other than the middle class. I’m about as middle class as they come. But I do have a bit of a London accent and I do sometimes get cast in those parts, so I would have thought that The Caretaker or The Homecoming, which are two of my favorite plays, would have been ones I might have done. But for some reason, it’s happened that its Betrayal.
SPALL: The waiter.
REDMAYNE: But the waiter appears only very briefly. So it’s basically the three of you up there, which sounds like an incredibly intimate experience. How was it than turning up to work on the first day with these actors who are married in real life and being the third person in the mix?
SPALL: Well, it’s a bit of a boring answer, but none of that has really come up. We’ve never really spoken about it. I mean, aside from the fact that Daniel and Rachel are both movie stars and married to one another, they are also extraordinarily talented actors, and they’ve both done a lot of stage work. Of course, there is always a sort of awkward thing that happens in any sort of rehearsal room. I’m someone who draws from his own experiences when I approach a play. I find that I actually relate everything that I’m trying to portray to some aspect of my life, and that’s a very vulnerable position and a very open position to put yourself in, in a rehearsal room, so you have to make the decision to do that. But regardless of whether two people in the play are married, it’s an exposing thing, so you have to take the plunge and do it because it’s one of the best things about acting, that quick openness you get with other people.
REDMAYNE: That shorthand.
SPALL: That shorthand. On the first day of rehearsals, you can wind up exposing things about yourself that you haven’t even told your best friends. That’s why a rehearsal room becomes a very sacred place—because it is such an incredibly intimate thing.
REDMAYNE: You’re safe, and then suddenly, one day, when you do the first preview, there are 1,000 people there.
SPALL: But you’ve got to do it. This is the thing.
REDMAYNE: That’s one of the big differences between film and theater. With theater, you’re ultimately going to be performing live in front of an audience every night, so you, as actors, really are relying on one another, and as a result, there has to be a kind of trust that develops. Whereas with film, you can sometimes be a bit more selfish because you just have to get through the moment when the camera is on you.
SPALL: That’s why people develop these extraordinary bonds in a theater. You might not be going over to each other’s houses every night for dinner, but you know that you’ve been through something special. I’m doing a film at the moment with Sally Hawkins, and I’ve done a play with her before, Constellations, which was just the two of us, so we have this bond because of the trust that you have to instill in one another. In America, you also have the green light and the red light backstage, don’t you? When you’re just about to go on, the red light starts flashing, and when the red light starts flashing, you press it so it stops to let the stage manager know that you are there, and then you know the green light is going to come on, and when that happens, you have to go on.